Theatre I History Unit

Running Head: THEATRE I HISTORY UNIT 1

Theatre I History Unit for Secondary Students

Abigail Cate

EDGR 595: Community of Learners

Dr. William Ross

January 22, 2014

THEATRE I HISTORY UNIT 2

Description of Unit

Overview

Along with music and art, theatre is a cultural tradition which has shaped and has been

shaped by society over the centuries. From the Oedipus cycle written in the fourth century BC to

the 2013 Tony Award © winning musical, Kinky Boots, theatre has held a mirror to the face of

societal norms and prejudices and, in turn, has inspired emotional rebuttal and satire. Through

this unit, students will examine how this art form has evolved and gain an empathetic

understanding of the human race’s intrinsic need to express itself. This understanding will lead to

fluency in character choices and stylistic particulars as students perform in differing historical

styles.

This unit is designed for secondary students (9-12) at the introductory level and follows

units on basic characterization, stage presence, and theatre terminology. Students are expected to

be able to demonstrate emotional memory, physical memory, and sensory memory, as well as

understand motivators unique to diverse characters. Although this unit covers literally millennia

of theatre history, each lesson focuses on a specific era and the fundamental playwrights of each,

facilitating a large amount of information to be relayed in a short period of time.

Intrinsic to this unit are the TESA Behaviors of Delving and Higher-Level Questions

(Rodriguez & Bellanca, 2007), as these behaviors allow students to connect historical ideas with

real-world issues and personal experience. In this way, students will foster an appreciation of the

“old” and the ability to look beyond bias to the art within, hopefully teaching students not only

about theatre, but about acceptance of the unknown and the willingness to face diverse

experiences with an open mind.


Objectives and Standards (“Colorado drama,” 2009 & “National standards,” n.d.)

Students can…

Colorado State Standard I2d. Identify appropriate stage properties and costumes for a given

production

Colorado State Standard I4b. Articulate the rationale for all artistic choices concerning

historical periods, genres, and relevant playwrights

Colorado State Standard II1c. Demonstrate the ability to utilize the conventions of the

following styles: Realism, mime, vaudeville, puppetry, clowning, comedy, tragedy,

improvisation, and melodrama

Colorado State Standard III1d. Research the cultural and historical background of a specific

play

Colorado State Standard II2b. Investigate and compare common themes among theatre,

various art forms, and content areas

National Standard 2a. Analyze the physical, emotional, and social dimensions of characters

found in dramatic texts from various genres and media

National Standard 2b. Compare and demonstrate various classical and contemporary acting

techniques and methods

National Standard 2e. Create consistent characters from classical, contemporary, realistic,

and nonrealistic dramatic texts in informal and formal theatre, film, television, or electronic

media productions.

National Standard 3b. Analyze a variety of dramatic texts from cultural and historical

perspectives to determine production requirements


National Standard 3f. Explain how scientific and technological advances have impacted set,

light, sound, and costume design and implementation for theatre, film, television, and

electronic media productions

National Standard 4a. Identify and research cultural, historical, and symbolic clues in

dramatic texts, and evaluate the validity and practicality of the information to assist in

making artistic choices for informal and formal productions

National Standard 4b . Research and describe appropriate historical production designs,

techniques, and performances from various cultures to assist in making artistic choices for

informal and formal theatre, film, television, or electronic media productions.

National Standard 6b. Compare the unique interpretive and expressive natures and aesthetic

qualities of traditional arts from various cultures and historical periods with contemporary

new art forms (such as performance art)

National Standard 7a . Construct social meanings from informal and formal productions and

from dramatic performances from a variety of cultures and historical periods, and relate

these to current personal, national, and international issues

National Standard 7g. Critique several dramatic works in terms of other aesthetic

philosophies (such as the underlying ethos of Greek drama, French classicism with its

unities of time and place, Shakespeare and romantic forms, India classical drama, Japanese

kabuki, and others)

National Standard 8a. Compare how similar themes are treated in drama from various

cultures and historical periods, illustrate with informal performances, and discuss how

theatre can reveal universal concepts


National Standard 8b. Identify and compare the lives, works, and influence of representative

theatre artists in various cultures and historical periods

National Standard 8c. Identify cultural and historical sources of American theatre and

musical theatre

National Standard 8d. Analyze the effect of their own cultural experiences on their dramatic

work

National Standard 8f. Analyze the relationships among cultural values, freedom of artistic

expression, ethics, and artistic choices in various cultures and historical periods

National Standard 8g. Analyze the development of dramatic forms, production practices,

and theatrical traditions across cultures and historical periods and explain influences on

contemporary theatre, film, television, and electronic media productions.

Outline of Lessons

Greek and Roman Theatre: Pathos and Tragedy

Medieval Theatre: Passion and Allegory

Elizabethan Theatre: Shakespeare and The Globe

Neo-Classical Theatre: Moliere and Satire

Victorian Theatre: Wilde and the Rise of the Common Man

The Golden Age of Hollywood: From Silent Film to Summer Blockbuster

The American Musical: Seventy Years of Tradition (1943-2013)


Integrated Components

Mediation of Intentionality and Reciprocity

Checking Prior Knowledge

o Medieval Theatre: An example work, Everyman, is presented along with a list of

the characters (God, Death, Everyman, Good Deeds, Fellowship, etc.).Students

will speculate in groups what they think the play is about and share. After

examining the play in more depth, students will return to their predictions to

analyze their preconceived ideas on the genre.

o Victorian Theatre: Agree/Disagree Chart (Rodriguez & Bellanca, 2007, p. 56).

Students will complete an Agree/Disagree chart identifying several aspects of

Victorian Theatre. Such statements may be “Upper class people don’t have the

same concept of society as other classes” and “Feelings are more important than

fact.” These statements will lead to a conversation detailing the aspects of

Victorian theatre and create a modern connection with the themes therein.

Structuring the Task

o Neo-Classical Theatre: After discussing hypocrisy in Moliere’s Tartuffe, students

will present who they may consider a modern-day hypocrite. Students will detail

what makes the individual a hypocrite, how their personal life was exposed, and

why people might still support the hypocrite after they are revealed. After sharing

ideas in a small group, each group will pick one individual to present to the rest of

the class.

o The Golden Age of Hollywood: Students will revisit the genre of pantomime from

a previous physicalization unit. Working in small groups, they will select a


popular film to briefly recreate in the silent film style, modeling the seven

characteristics of pantomime in their films. After the films are complete, students

will present them in class and discuss the differences between staged pantomime

and the silent film genre.

Looking Back and Reflecting

o All Lessons: Following each performance, students will complete a self-

assessment, examining areas of strength and opportunities for growth. These may

be suggestions from the post-performance critique or original comments on their

rehearsal process. Alternate self-assessment activity: students may “contest” a

comment from the post-performance critique, supplying genre-specific evidence

which supports the choice.

Bridging Forward

o Greek and Roman Theatre: Class Discussion Question. How does the idea of

pathos apply to subjects aside from theatre? How could you use pathos in your

personal life?

o The American Musical: After students have learned about the plots and the music

from such modern musicals as Jesus Christ Superstar and The Wedding Singer, as

students to revisit their preconceived notions about musical theatre. In small

groups, have students contrast the music from these shows to the music from early

shows such as Oklahoma! and imagine how the popular music culture will

continue to influence the music of Broadway. Invite each group to share their

assumptions with the class.


Mediation of Meaning

Overland encourages students schoolwide to utilize the Cornell Note Method (see Figure

1, p. 16), which is an adaptation of Donna Ogle’s KWL strategy (Rodriguez & Bellanca, 2007, p.

61). All students are taught its use in our mandatory freshman orientation course, Blazer 101, and

many receive additional training in Advancement Via Individual Determination, or AVID. The

Cornell Note Method takes the basic KWL chart and modifies it to allow for extended notes on a

subject. Additionally, this method encourages students to “think about thinking” (Rodriguez &

Bellanca, 2007, p. 62)

Aside from Cornell Notes, Overland teachers utilize a type of visual aid called Thinking

Maps. “Thinking Maps is a language of eight visual patterns each based on a fundamental

thought process, designed to benefit students” (“Thinking maps,” 2012). In the classroom, the

traditional KWL chart could easily be replaced by Thinking Maps, each of which “is linked to a

specific thought process. By connecting a concrete visual design with a specific abstract thought

process, students create mental visual patterns for thinking” (“Thinking maps,” 2012). The

traditional Circle Map (see Figure 2, p.17) is an excellent alternative to the KWL chart as

students as a group brainstorm prior knowledge in the larger circle, ask questions in the upper

field, and then reflect on learning in the lower field. This map would serve as an excellent

opening exercise for each of the lessons listed above.

The Circle Map is also a tool which could be applied to the process of prediction. For

example, during the Shakespeare lesson, having students predict plot points of lesser-known

Shakespearian plays will show students that the same general themes of love, revenge, and

outlandish humor that they appreciate in modern film is still present in what they consider and

antiquated art form. This exercise will also help students connect the real world with the subject


of Shakespearian plays. So often, students are reluctant to study Shakespeare; this reluctance is

not because of the subject matter, but due to a disconnect with the language. This, added to the

fact that many students first experience Shakespeare under the lens of literary analysis, leads

students to feel that Shakespeare is old and boring. By initially ignoring the language and merely

talking students through the plots of the plays, students become engaged. Meaning can then be

cemented by having students watch, rather than read, the discussed plays. Other than his sonnets,

Shakespeare’s works were meant to be viewed, not read.

When examining the process of inquiry, the best method is arguably Socratic questioning.

Through Socratic inquiry, the lessons’ lectures become student-led and foster a higher level of

active engagement. The addition of leading questions can turn basic inquiry into a multi-tiered

strategy which addresses TESA Behaviors of Delving and Higher-Level Questions (Rodriguez &

Bellanca, 2007).

Mediation of Transcendence

In What Is It About Me You Can’t Teach (Rodriguez & Bellanca, 2007), two major tactics

are outlined: reciprocal teaching and fostering communities of learners. The unit outlined deals

very little with reading comprehension, focusing alternatively on empathetic and logical

applications of historical styles to performances. Therefore, reciprocal teaching is not a strategy

which would be effective in this unit (it will provide effective instruction in other units, such as

the play analysis unit and the original script writing unit). Instead, fostering communities of

learners is the method by which this unit will mediate transcendence.

Fostering communities of learners is an innate characteristic of the theatre classroom.

Each group “researches” and performs a different selection from the historical period of the


lesson. Instead of relating information explicitly, performances then encourage students to

contrast each selection for genre qualities. In addition, theatre’s general themes have remained

mostly unchanged over millennia. From the teenage rebellion outlined in Sophocles’ Antigone to

the pain of unrequited love and the feelings of societal rejection examined in Weber’s The

Phantom of the Opera, students transcend the idea of old and new and come to recognize the

universality of the human condition.

Mediation of Competence

Students who feel competent are infinitely more likely to engage in classroom activities

and questioning, thereby gaining more immediate feedback on the comprehension of content.

While “there is not a magic cure-all for feelings on incompetence,” (Rodriguez & Bellanca,

2007, p. 123), several of the TESA Behaviors are easily applied in classroom discussions to

alleviate these negative feelings.

Already mentioned are the Behaviors of Delving and Higher-Level Questions. These

behaviors, when applied to lecture, lead to higher engagement. However, students who are

inclined not to participate due to feelings of incompetence require additional behaviors, namely

the Behaviors of Wait Time and Praise. By utilizing the Wraparound method detailed by

Rodriguez and Bellanca (2007, p. 125), each student gets a chance to respond, but the teacher

must be careful to apply enough Wait Time (and, possibly, leading questions) to allow lower-

achieving students to talk through their thought process. When students realize that a simple “I

don’t know” won’t suffice, they allow themselves to try.

Following a correct answer, the Behavior of Praise should be applied to cement the

positive experience. Students learn that participating, even if they need more time to arrive to the


correct response, will result in success. The regular use of this method and behaviors also teaches

higher achievers how to break down a question, a skill which is useful when they confront more

difficult problems and complex ideas.

Mediation of Sharing Behavior

Story Element Web (Rodriguez & Bellanca, 2007, p. 139) in the American Musical: By

using the Tree Thinking Map (see Figure 3, p. 17), students will complete a story element

web for the musical Miss Saigon after watching the musical on film.

Business Cards Modification (Rodriguez & Bellanca, 2007, p. 137) in Neo-Classical

Theatre: After performing sections of Moliere’s The Bourgeois Gentleman and Tartuffe,

students will complete the Business Card activity in character. Name of Character, Name

of Play, Character’s Goal (i.e. to become respected by the upper class), Character’s

Barrier to the Goal, Character’s Biggest Ally, Character’s Biggest Antagonist. The rest of

the activity continues as detailed.

Explain Why (Rodriguez & Bellanca, 2007, p. 136) in Elizabethan Theatre as a

continuation of Greek and Roman Theatre: After examining the qualities of

Shakespearian tragedy, students will group to explain ways in which Shakespearian

tragedy is alike and unlike Greek tragedy. Groups will brainstorm these comparisons on a

Double Bubble Map (see Figure 4, p. 18) and then share with the rest of the class.


Mediation of Individuation

Visual-Spatial: Storyboard (The Golden Age of Hollywood). Students will storyboard

one scene from their favorite movie. Credit is based on completion rather than artistic

ability, however extra credit may be given in cases of special effort.

Bodily-Kinesthetic: Props and Costumes (Victorian Theatre). With the introduction of

technical theatre aspects such as properties and costuming, students will design (and, if

possible, fabricate) the props and costumes for their Victorian scene. Credit is based on

completion rather than craftsmanship, however extra credit may be given in cases of

special effort.

Musical: You’re the Lyricist (The American Musical). Students will choose a popular

song (not necessarily from a musical, but extra credit will be given for songs released

before 1980) and rewrite the lyrics to apply to their original monologues. Credit is based

on completion rather than musical ability, however extra credit may be given in cases of

students performing the song in their monologues.

Interpersonal: Scene Performance (Greek and Roman Theatre, Medieval Theatre,

Elizabethan Theatre, Neo-Classical Theatre, Victorian Theatre). Students will participate

in a short group scene from notable historical works.

Intrapersonal: Monologue Performance (Elizabethan Theatre, Victorian Theatre, The

American Musical). Students will perform a short monologue scene from notable

historical works and original script writing experiences.

Linguistic: In Your Own Words (Elizabethan Theatre). Students will choose a short

section or monologue from the Shakespeare scene they are performing and translate the

scene into modern English.


Logical -Mathematical: Lighting Design (The Golden Age of Hollywood). Students will

design the lighting plot for a fictional staging of their favorite movie (see Figure 6, p. 19).

Credit is based on completion rather than craftsmanship, however extra credit may be

given in cases of special effort.

Mediation of Goal Planning

Students will examine the Elizabethan Monologue Rubric (see Figure 5, p. 18). Once

familiar with the evaluation criteria, they will choose a short monologue from a Shakespearean

production. Then, utilizing the questions detailed by Rodriguez and Bellanca (2007, p. 170),

students will set a goal concerning the monologue. This goal should be specific to an area of

growth unique to the individual student as based on the results of their previous performances

(i.e. Physicalization, Memorization, accent work, etc). Since the Elizabethan unit includes two

performances (an active monologue-working performance wherein students perform and receive

constructive criticism from the class and teacher and the final performance), students will have a

chance to re-examine their goal process at the unit’s halfway point.

Mediation of Challenge

As mentioned previously, the use of the TESA Behavior of Higher-Level Questions and

Delving is integral in this unit, not only to check for comprehension, but also to introduce rigor

and challenge to the students: “a skillful teacher my initiate the mediation of challenge by asking

increasingly difficult questions” (Rodriguez & Bellanca, 2007, p. 186). The demonstration of this

will occur in each lesson as it progresses, following the three-story intellect model as detailed by

Rodriguez and Bellanca (2007). This model could look something like this:


Level One—Name the characteristics of Greek tragedy.

Level Two—Explain how the characteristics of Greek tragedy are modeled in Sophocles’

Antigone.

Level Three—Imagine that Antigone had been written in 2013. How might Sophocles’

utilization of the characteristics of Greek tragedy changed? How would it be the same?

Another strategy for the mediation of challenge that will be implemented is a modification of

the Three-to-One technique (Rodriguez & Bellanca, 2007, p. 190-191). Three clips of different

performances of Wilde’s famous “hand-bag” monologue from The Importance of Being Earnest

will be presented. In trios, each student will argue why one of the performances was the best.

The remainder of the exercise will continue as detailed.

Mediation of Self-Change

Mediation of self-change is crucial to the success of this unit. Theatre, especially the

performance aspect, is an exercise in compassion and empathy. At its core, performers must

understand how to accept and give constructive criticism. Each lesson in the unit includes a

performance and, after the first, students are expected to give verbal criticism of their peers’

performance. The skill of giving and accepting constructive criticism is modeled carefully.

First, the educator models how to give feedback following the first performance, being

explicit on the process of commenting on workable areas of growth and pointing out areas of

strength. After the first performance, all students have been in the “hot seat” and become

sympathetic to the feeling of nervousness and fear that can partner it. After these two lessons, the

vast majority of students are painfully aware of the power of their words and now to shape their

comments into a positive experience.


Once students receive feedback, they are ready to reflect on their growth in the lesson. By

using a simple PMI chart following each performance, students are provided “the opportunity to

develop deep reflection … [and a] disposition to learn” (Rodriguez & Bellanca, 2007, p. 2004).


Figure 1. Example of Cornell Note Method (Brown, 2013).

Cornell Note

Method

Topic/Objective: Name:

Essential Question: Class/Period:

Date:

Questions/Key Points: Notes:What I Know:

What I Want to Know:

Summary:What I Learned:


Figure 2. Circle Map example for use in brainstorming or defining in context (“Assessment,”

n.d.)

Figure 3. Tree Map example for use in classifying or categorizing (Burleson, 2013).


Figure 4. Double Bubble Map for use in comparing and contrasting (“Double bubble,” 2012).

Figure 5. Performance Rubric example: Elizabethan Monologue.


Figure 6. Example of a lighting plot to promote logical thinking (Whinnery, 2006).


Resources

American Alliance for Theatre and Education. (n.d.). National standards for theatre education,

grades 9-12. Retrieved from http://www.aate.com/?nationalstandards912

Colorado Department of Education, Office of Standards and Assessments. (2009). Colorado

drama and theatre arts standards. Retrieved from: http://www2.cde.state.co.us/scripts/

allstandards/costandards.asp?stid=2&stid2=1&glid2=0

Rodriguez, E. R., & Bellanca, J. A. (2007). What is it about me you can't teach?: An

instructional guide for the urban educator (2nd ed.). Thousand Oaks,CA: Corwin Press.

Thinking Maps, Inc. (2012). Thinking maps. Retrieved from http://thinkingmaps.com/

Figures Resources

1. Brown, A. (2013, April 1). Cornell note method KWL chart. Retrieved from:

http://ls5443cmo.wikispaces.com/file/detail/Cornell%20Note%20Method%20KWL

%20Chart.docx

2. ThinkingFoundation. (n.d.). Assessment using thinking maps [JPG]. Retrieved from:

http://thinkingfoundation.org/assessment/images/assessment_tm_circle.jpg

3. Burleson, C. O. (2013, December 12). Tree map [JPG]. Retrieved from:

http://drb.lifestreamcenter.net/Lessons/process_maps/classify.gif

4. Thinking Maps, Inc. (2012). Double bubble map [JPG]. Retrieved from:

http://1.bp.blogspot.com/-cnD8_JjXlnQ/T81jWahMGbI/AAAAAAAAAG0/

llDP9OKzzyk/s1600/3%2BDouble%2BBubble%2BMap%2BExample.png

6. Whinnery, P. (2006, March 20). Tartuffe lighting plot [JPG]. Retrieved from:

http://www.dolphin.upenn.edu/pacshop/Images/turandot_plt.png

Documents

Theatre I History Unit